Abendprogramm Winterreise. Ein Theaterstück

Winterreise / The Cold Trip
Sonntag, 13. März
Haus der Berliner Festspiele
19:00 Uhr
Elfriede Jelinek
Winterreise. Ein Theaterstück (2011)
21:00 Uhr
Bernhard Lang
The Cold Trip pt. 1 und 2
Es war nicht zuletzt der „musikalische Fluss von Stimmen und Gegenstimmen“, den die Schwedische Akademie im Werk Elfriede Jelineks
hervorhob, als sie ihr 2004 den Literaturnobelpreis zuerkannte. Auch
weit darüber hinaus spielt die Musik für die österreichische Autorin
und ihr Schreiben eine zentrale Rolle. In „Winterreise. Ein Theaterstück“ (2011) nimmt Jelinek schon im Titel konkret Bezug auf den
gleichnamigen, 1827 entstandenen Liederzyklus von Franz Schubert,
ihrem erklärten „Lieblingskomponisten und Künstler, den ich am
meisten bewundere“. „Fremd bin ich eingezogen, fremd zieh ich wieder aus“ – ausgehend von diesen ersten Worten des Zyklus’, macht
sich Jelineks lyrisches Ich auf eine gedankliche Wan­derung, die sie
freilich durch ihre eigene Biografie und – anhand aktueller Skan­dale – durch den Wahnwitz unserer Gegenwart führt. Einsamkeit
und innere Emigration, Fremdheit und Ausgestoßensein, Vertreibung,
Vergänglichkeit und das Scheitern sind – wie bei Schubert – die existenziellen Fragen dieses Texts, der in eine schonungslose Abrechnung
mit Jelineks eigener Rolle als Autorin mündet: „… die Leier drehend,
immer dieselbe Leier, immer dasselbe?“ – Hier sind die musikalischen
Stimmen und Gegenstimmen dieser „Winterreise“ als Lesung der fulminanten Sophie Rois zu erleben.
T he “musical flow of voices and counter-voices” was one of the most
significant qualities the Swedish Academy picked out in Elfriede
Jelinek’s work when awarding her the Nobel Prize for Literature in
2004. And music goes even further to play a central role for the
Austrian author and her writings. In “Winterreise. A play” (2011)
Jelinek’s title makes direct reference to the song cycle of the same
name created in 1827 by Franz Schubert, whom she declares to be
her “favourite composer and the artist I admire most.” “A stranger
I arrived here, a stranger I go hence” – using these opening words of
the cycle as a starting point, Jelinek’s lyrical narrator sets
off on an intellectual journey taking her through her own biography
and – amid current scandals – the insanity of the contemporary world.
In common with Schubert, loneliness and internal exile, alienation
and exclusion, displacement, transience and failure are the existential
questions of this text, which culminates in a merciless assessment
of Jelinek’s own role as an author: “turning out a story, always the
same old story, always the same?” – You can experience the musical
voices and counter-voices of this “Winterreise” here in the form a
reading by the remarkable Sophie Rois.
Sonntag, 13. März, 19:00 Uhr
Haus der Berliner Festspiele, Großer Saal
Sophie Rois
liest aus
Elfriede Jelinek
Winterreise. Ein Theaterstück (2011)
3
„Winterreise. Ein Theaterstück“ von Elfriede Jelinek
ist im Rowohlt Verlag erschienen.
4
Neben Elfriede Jelineks literarischem Blick auf
Schuberts „Winterreise“ steht hier ein ganz neuer
musikalischer Zugriff auf den Klassiker: Bernhard
Lang denkt als Komponist gern in großen Zyklen in die
Tiefe des Details. Über Jahre hinweg stand die Beschäftigung mit dem Phänomen der Wiederholung im Fokus
seiner Arbeit; basierend auf dem Denken des Philosophen Gilles Deleuzes und mit vielen Anleihen aus der
DJ-Kultur, erforschte der Österreicher in seiner über
30-teiligen Werkreihe „Differenz / Wiederholung“ die
Simulation musikalischer Automatismen. Mittlerweile
hat sich aus den dabei entwickelten Methoden eine
weitere Serie etabliert: die „Monadologie“-Serie. Lang
spricht von „Ex­plosion“ und „Sprengung“, wenn er
Werke von Haydn, Mozart, Strauss oder Bruckner überarbeitet und überschreibt. Hier also Schubert: Mit seinen Loop-, Schnitt- und Sampletechniken schafft
Bernhard Lang ein Palimpsest auf den originalen
Klängen und Strukturen der romantischen Lieder.
Aus der „Winterreise“ wird eine Metakomposition –
„The Cold Trip“.
longside Elfriede Jelinek’s literary take on Schubert’s “Winterreise” stands a
A
completely new musical approach to the classic: Bernhard Lang is a composer
who likes to concentrate on the depth of detail within long cycles. For many
years his work focussed on the phenomenon of repetition; based on the thinking
of philosopher Gilles Deleuze and borrowing extensively from DJ culture, the
Austrian composer investigated the simulation of musical automatism in his
series of over 30 works “Differenz / Wiederholung”. Using the methods he has
devised, he has since embarked on a second series: the “Monadologie” series.
Lang speaks of “explosion” and “detonation” when reworking or over-writing
the works of Haydn, Mozart, Strauss or Bruckner. In this case, it is Schubert:
and with his looping, editing and sampling techniques Bernhard Lang creates
a palimpsest over the original sounds and structures of these romantic songs.
Out of the “Winter­reise” comes a meta-composition – “The Cold Trip”.
Mit Unterstützung von Österreichisches Kulturforum
Sonntag, 13. März, 21:00 Uhr
Haus der Berliner Festspiele, Bühne
Bernhard Lang
Monadologie XXXII
The Cold Trip pt. 1
für Stimme und vier Gitarren (2014) UA
I „GoddNite” – II „The Weathervane” – III „Frozen Tears” – IV „FeeliNumb” – V „Lindentree” – VI „Flood of Tears” – VII „River” – VIII „LookinBack” – IX „Phantom Light” – X „Restless” – XI „Dreams” – XII „Alone in the Dark”
Sarah Maria Sun Stimme
Aleph Gitarrenquartett
Andrés Hernández Alba, Tillmann Reinbeck,
Wolfgang Sehringer, Christian Wernicke
Bernhard Lang
Monadologie XXXII
The Cold Trip pt. 2
für Klavier, Laptop und Stimme (2014/2015) UA
0 Zero Prelude – XIII „Mail” – XIV „Bleached“ – XV „The Crow“ – XVI „Last Hope“ – XVII „Burghers Dream“ – XVIII „Stormy Monday“ – XIX „Will’oWisp“ – XX „Deviant“ – XXI „Hotel“ – XXII „Speed“ – XXIII „Three Sun Vision“ – XXIV „The Busker“ – XXV „Epilogue“
Juliet Fraser Stimme
Mark Knoop Klavier, Laptop
Kompositionsauftrag in Zusammenarbeit mit Österreichisches Kulturforum Berlin,
Arts Council England, The Hinrichsen Foundation und Huddersfield Contemporary Music Festival
Im Anschluss
Juliet Fraser und Bernhard Lang im Gespräch mit Lydia Rilling
(in englischer Sprache)
5
Kompositionsauftrag in Zusammenarbeit mit Österreichisches Kulturforum New York,
in Koproduktion mit ZKM Karlsruhe
Part One
1. Good Night
I arrived a stranger,
A stranger I depart.
May blessed me
With many a bouquet of flowers.
The girl spoke of Iove,
Her mother even of marriage;
Now the world is so desolate,
The path concealed beneath snow.
6
I cannot choose the time
For my journey;
I must find my own way
In the darkness.
A shadow thrown by the moon
Is my companion;
And on the white meadows
I seek the tracks of deer.
Why should I tarry Ionger
And be driven out?
Let stray dogs howl
Before their master’s hause.
Love delights in wandering –
God made it so –
From one to another.
Beloved, good night!
I will not disturb you as you dream,
It would be a shame to spoil your rest.
You shall not hear my footsteps;
Softly, softly the door is closed.
As I pass I write
‘Good night’ on your gate,
So that you might see
That I thought of you.
He should have noticed it sooner,
This sign fixed upon the house;
Then he would never have sought
A faithful woman within that house.
Inside the wind is playing with hearts,
As on the roof, only less loudly.
Why should they care about my grief?
Their child is a rich bride.
3. Frozen Tears
Frozen drops fall
From my cheeks;
Have I, then, not noticed
That I have been weeping?
Ah tears, my tears,
Are you so tepid
That you turn to ice,
Like the cold morning dew?
And yet you well up, so scaldingly hot,
From your source within my heart,
As if you would melt
All the ice of winter.
4. Numbness
In vain I seek
Her footprints in the snow,
Where she walked on my arm
Through the green meadows.
2. The Weather-Vane
I will kiss the ground
And pierce ice and snow
With my burning tears,
Until I see the earth.
The wind is playing with the weather-vane
On my fair sweetheart’s hause.
In my delusion I thought
It was whistling to mock the poor fugitive.
Where shall I find a flower?
Where shall I find green grass?
The flowers have died,
The grass Iooks so pale.
Shall I, then, take
No memento from here?
When my sorrows are stilled
Who will speak to me of her?
My heart is as dead,
Her image coldly rigid within it;
If my heart ever melts again
Her image, too, will flow away.
5. The Linden Tree
By the well, before the gate,
Stands a Iinden tree;
In its shade I dreamt
Many a sweet dream.
Today, too, I had to walk
Past it at dead of night;
Even in the darkness
I closed my eyes.
And its branches rustled,
As if they were calling to me:
‘Come to me, friend,
Here you will find rest.’
The cold wind blew
Straight into my face,
My hat flew from my head;
I did not turn back.
Now I am many hours’ journey
From that place;
Yet I still hear the rustling:
‘There you would find rest.’
Many a tear has fallen
From my eyes into the snow
Its cold flakes eagerly suck in
My burning grief.
When the grass is about to shoot forth,
A mild breeze blows;
The ice breaks up into pieces
And the soft snow melts away.
Snow, you know of my longing;
Tell me, where does your path lead?
If you but follow my tears
The brook will soon absorb you.
With it you will flow through the town,
In and out of bustling streets;
When you feel my tears glow,
There will be my sweetheart’s house.
7. On the River
You who rippled so merrily,
Clear, boisterous river,
How still you have become,
You give no parting greeting.
With a hard, rigid crust
You have covered yourself;
You lie cold and motionless,
Stretched out in the sand.
On your surface I carve
With a sharp stone
The name of my beloved,
The hour and the day.
The day of our first greeting,
The date I departed.
Around name and figures
A broken ring is entwined.
7
In its bark I carved
Many a word of Iove;
In joy and sorrow
I was ever drawn to it.
6. Flood
8
My heart, do you now recognize
Your image in this brook?
Is there not beneath its crust
Likewise a seething torrent?
Down the dry gullies of the mountain stream
I calmly wend my way;
Every river will reach the sea,
Every sorrow, too, will reach its grave.
8. Backward Glance
10. Rest
The soles of my feet are burning,
Though I walk on ice and snow;
I do not wish to draw breath again
Until I can no Ionger see the towers.
Only now, as I lie down to rest,
Do I notice how tired I am.
Walking kept me cheerful
On the inhospitable road.
I tripped on every stone,
Such was my hurry to leave the town;
The crows threw Snowballs and hailstones
On to my hat from every house.
My feet did not seek rest,
It was too cold to stand still;
My back felt no burden,
The storm helped to blow me onwards.
How differently you received me,
Town of inconstancy!
At your shining windows
Lark and nightingale sang in rivalry.
In a charcoal-burner’s cramped cottage
I found shelter.
But my limbs cannot rest,
Their wounds burn so.
The round linden trees blossomed,
The gutters gurgled with clear water,
And, ah, a maiden’s eyes glowed;
Then, friend, your fate was sealed.
You too, my heart, so wild and daring
In battle and tempest;
In this calm you now feel the stirring of your
serpent,
With its fierce sting.
When that day comes to my mind
I should like to look back once more,
And stumble back
To stand before her house.
9· Will-o’-the-Wisp
A will-o’-the-wisp enticed me
Into the deepest rocky chasms;
How I shall find a way out
Does not trouble my mind.
I am used to straying
Every path leads to one goal;
Our joys, our sorrows All are a will-o’-the-wisp’s game.
11. Dream of Spring
I dreamt of bright flowers
That blossom in May;
I dreamt of green meadows
And merry bird-calls.
And when the cocks crowed
My eyes awoke;
It was cold and dark,
Ravens cawed from the roof.
But there, on the window panes,
Who had painted the leaves?
Are you laughing at the dreamer
Who saw flowers in winter?
Part Two
I dreamt of mutual Iove,
Of a lovely maiden,
Of embracing and kissing,
Of joy and rapture.
And when the cocks crowed
My heart awoke;
Now I sit here alone
And reflect upon my dream.
I close my eyes again,
My heart still beats so warmly.
Leaves on my window, when will you turn green?
When shall I hold my Iove in my arms?
12. Loneliness
Thus I go on my way,
With weary steps, through
Bright, joyful life,
Alone, greeted by no one.
Alas, that the air is so calm!
Alas, that the world is so bright!
When storms were still raging
I was not so wretched.
A posthorn sounds from the road.
Why is it that you leap so high,
My heart?
The post brings no Ietter for you.
Why, then, do you surge so strangely,
My heart?
But yes, the post comes from the town
Where I once had a beloved sweetheart,
My heart!
Do you want to peep out
And ask how things are there,
My heart?
14. The Grey Head
The frost has sprinkled a white sheen
Upon my hair;
I thought I was already an old man,
And I rejoiced.
But soon it melted away;
Once again I have black hair,
So that I shudder at my youth.
How far it is still to the grave!
Between sunset and the light of morning
Many a head has turned grey.
Who will believe it? Mine has not done so
Throughout this whole journey.
15. The Crow
A crow has come with me
From the town,
And to this day
Has been flying ceaselessly about my head.
9
As a dark cloud
Drifts through clear skies,
When a faint breeze blows
In the fir-tops;
13. The Post
Crow, you strange creature,
Will you not leave me?
Do you intend soon
To seize my body as prey?
Well, I do not have much further to walk
With my staff.
Crow, Iet me at last see
Faithfulness unto the grave.
16. Last Hope
10
Here and there on the trees
Many a coloured leaf can still be seen.
I often stand, lost in thought,
Before those trees.
I Iook at one such leaf
And hang my hopes upon it;
If the wind plays with my leaf
I tremble to the depths of my being.
Ah, and if the leaf falls to the ground
My hopes fall with it;
I, too, fall to the ground
And weep on the grave of my hopes.
17. In the Viilage
Dogs bark, chains rattle;
People sleep in their beds,
Dreaming of many a thing they do not possess,
Consoling themselves with the good and the bad.
And tomorrow morning all will have vanished.
Well, they have enjoyed their share,
And hope to find on their pillows
What they still have left to savour.
Drive me away with your barking, watchful dogs,
Allow me no rest in this hour of sleep!
I am finished with all dreams;
Why should I linger among slumberers?
18. The Stormy Morning
How the storm has torn apart
The grey mantle of the sky!
Tattered clouds fly about
In weary conflict.
And red flames
Dart between them.
This is what I call
A morning after my own heart.
My heart sees its own image
Painted in the sky –
It is nothing but winter,
Winter, cold and savage.
19. Illusion
A light dances cheerfully before me,
I follow it this way and that;
I follow it gladly, knowing
That it lures the wanderer.
Ah, a man as wretched as I
Gladly yields to the beguiling gleam
That reveals to him, beyond ice, night and terror,
A bright, warm house,
And a beloved soul within.
Even mere delusion is a boon to me!
20. The Signpost
Why do I avoid the roads
That other travelers take,
And seek hidden paths
Over the rocky, snow-clad heights?
Yet I have done no wrong,
That I should shun mankind.
What foolish yearning
Drives me into the wilderness?
Signposts stand on the roads,
Pointing towards the towns;
And I wander on, relentlessly,
Restless, and yet seeking rest.
Cheerfully out into the world,
Against wind and storm!
If there is no God on earth,
Then we ourselves are gods!
I see a signpost standing
Immovable before my eyes;
I must travel a road
From which no man has ever returned.
23. The Mock Suns
21. The Inn
My journey has brought me
To a graveyard.
Here, I thought to myself,
I will rest for the night.
Are all the rooms
In this house taken, then?
I am weary to the point of collapse,
I am fatally wounded.
Pitiless tavern,
Do you nonetheless turn me away?
On, then, press onwards,
My trusty staff!
22. Courage
When the snow flies in my face
I shake it off.
When my heart speaks in my breast
I sing loudly and merrily.
I do not hear what it tells me,
I have no ears;
I do not feel what it laments,
Lamenting is for fools.
24. The Organ-grinder
There, beyond the village,
Stands an organ-grinder;
With numb fingers
He plays as best he can.
Barefoot on the ice
He totters to and fro,
And his little plate
Remains forever empty.
No one wants to listen,
No one looks at him,
And the dogs growl
Around the old man.
And he lets everything go on
As it will;
He plays, and his hurdy-gurdy
Never stops.
Strange old man,
Shall I go with you?
Will you grind your hurdy-gurdy
To my songs?
11
Green funeral wreaths,
You must be the signs
Inviting tired travelers
Into the cool inn.
I saw three suns in the sky;
I gazed at them long and intently.
And they, too, stood there so fixedly,
As if unwilling to leave me.
Alas, you are not my suns!
Gaze into other people’s faces!
Yes, not long ago I, too, had three suns;
Now the two best have set.
If only the third would follow,
I should feel happier in the dark.
Biografien
12
Sophie Rois
Erste Engagements führten Sophie Rois von
Linz nach Berlin. Seit 1993 gehört sie zum
Ensemble der Volksbühne am Rosa-Luxemburg-Platz, wo eine langjährige Zusammen­
arbeit sie mit dem Regisseur Frank Castorf
verbindet. Sophie Rois arbeitete u. a. mit
Christoph Marthaler, Luc Bondy, René
Pollesch, Herbert Fritsch und mehrfach mit
Christoph Schlingensief. Auch drehte sie
zahlreiche Kino- und Fernsehfilme.
Für ihre Hauptrolle im Kinofilm „Drei“
(Regie: Tom Tykwer) wurde sie mehrfach
ausgezeichnet.
First engagements lead Sophie Rois from Linz
to Berlin. Since 1993 she has been a member
of the acting company of Volksbühne am
Rosa-Luxemburg-Platz, where she has been
working with director Frank Castorf for many
years. At the Volksbühne, she also worked
with Christoph Marthaler, Luc Bondy, René
Pollesch, Herbert Fritsch and several times
with Christoph Schlingensief. In addition
Sophie Rois played parts in numerous films
for cinema and television. For the lead part
in the cinema film “Drei (Three)”, directed
by Tom Tykwer, she received several awards.
Elfriede Jelinek
Elfriede Jelinek, 1946 geboren, zählt zu den
bedeutendsten deutschsprachigen Gegenwartsautoren. Neben Lyrik, Essays, Übersetzungen, Hörspielen, Drehbüchern und Opernlibretti umfasst ihr Werk fast ein dutzend
Romane. Im Dezember 2004 wurde Elfriede
Jelinek, deren dramatisches und literarisches
Werk einstweilen mit einer Vielzahl an Ehrungen
gewürdigt wurde, der Nobelpreis für Literatur
verliehen.
Elfriede Jelinek, born in 1946, is one of the most
important contemporary writers in German.
Besides poetry, essays, translations, audio plays,
screenplays and opera libretti, her ouevre also
includes almost a dozen novels. In December
2004, Elfriede Jeliniek, whose dramatic and
literary works have received various honours,
was awarded the Nobel Prize in Literature.
Bernhard Lang
Bernhard Lang, geboren 1957, studierte Kom­po­sition, Klavier, Jazztheorie und Harmonie­
lehre sowie Philosophie und Germanistik. Von
1977 bis 1981 arbeitete er mit und in diversen
Jazzgruppen als Komponist, Arrangeur und
Pianist. Auch setzte er sich mit Elektronischer
Musik und Computertechnologie auseinander
und entwickelte diese maßgebend. Seit 2003
ist Bernhard Lang a.o. Professor für Komposition an der Kunst­universität Graz. Bernhard
Langs Musik als auch seine diskursiven Arbeiten
sind Bestandteil vieler internationaler Festivals
Bernhard Lang, born 1957, studied composition,
jazz piano, arranging and classical piano, philo­
sophy and German philology. Between 1977 and
1981 he worked with various jazz bands. Since
2003, he is holding a professorship in composition
at the University of Music and dramatic Arts in
Graz. His compositions have been performed at
the most festivals of contemporary music all over
Europe and America. He also performs live as an
improviser both solo and in duos. He currently
lives in Vienna.
http://members.chello.at/bernhard.lang/
Sarah Maria Sun
Aleph Gitarrenquartett
Das Aleph Gitarrenquartett wurde 1993 ge­gründet und hat sich seither als ein Ensemble
profiliert, das maßgeblich zur Schaffung eines
zeit­genössischen Repertoires für vier Gitarren
bei­trägt. In enger Zusammenarbeit mit den
vier Gitarristen erschließen zahlreiche Komponisten die klanglichen Möglichkeiten dieser
Besetzung, die in den letzten Jahren gelegentlich durch die Zusammenarbeit mit Gastmusikern erweitert wird.
The Aleph Guitar Quartet has been founded in
1993 and has excelled itself ever since as an
ensemble, which has contributed significantly
to the production of contemporary repertoire
for four guitars. Numerous composers have
worked closely with these four musicians in order
to capture the sonic possibilities of this ensemble,
which is occasionally being extended by guest
musicians.
www.alephgitarrenquartett.de
13
Sarah Maria Sun konzertierte mit namhaften
Dirigenten wie Sir Simon Rattle, Kent Nagano
oder Thomas Hengelbrock wie Orchestern
und Ensembles. Ihr Repertoire beinhaltet
neben Liedern und Oratorien zurzeit etwa
600 Kom­positionen des 20. und 21. Jahrhunderts. Von 2007–2014 war sie die Erste Sopra­
nistin der Neuen Vocalsolisten Stuttgart, das
seit 30 Jahren zu den wichtigsten Vorreitern
zeitge­nössischer Musik zählt. Sarah Maria Sun
gibt zudem regelmäßig an diversen Universi­
täten und Hoch­schulen von Harvard bis Berlin
Meisterkurse für Vokalmusik des 20. und
21. Jahrhunderts.
Sarah Maria Sun has performed with renowned
conductors like Sir Simon Rattle, Kent Nagano
or Thomas Hengelbrock as well as greatly respect­ed orchestras and ensembles. Besides lied, opera
and oratorio her repertoire includes more than
600 pieces from the contemporary repertoire.
From 2007-2014 she has been the first soprano
of the Neue Vocalsolisten Stuttgart. For almost
30 years this extraordinary ensemble has been
at the forefront of contemporary music.
Besides, Sarah Maria Sun has given master
classes for vocal music of the 20th and 21st century at universities from Harvard to Berlin.
www.sarahmariasun.de
14
Juliet Fraser
Das Repertoire der Sopranistin Juliet Fraser
wird von dem sehr Alten wie dem sehr Neuen
dominiert. Im Bereich der neuen Musik arbeitete sie als Gastsolistin mit Ensembles wie
dem Plus-­Minus Ensemble, ICTUS, der London
Sinfonietta, oder dem Ensemble Intercontemporain u.a. zusammen. Sie ist Mitbegründerin
und erste Sopranistin des gefeierten Vokal­
ensembles EXAUDI und wirkte an der Urauf­
führung von mehr als 100 Werken mit. Vor
allem mit den Komponisten Michael Finnissey,
Christopher Fox, Bernhard Lang, James Week,
Matthew Shlomowitz und Andrew Hamilton
verbindet sie eine enge Zusammenarbeit.
Soprano Juliet Fraser has a repertoire dominated
by the very old and the very new. In new music,
she has performed as a guest soloist with ensembles such as Plus-Minus Ensemble, ICTUS, London
Sinfonietta, or Ensemble Intercontemporain.
She is also co-founder and principal soprano of
EXAUDI, the acclaimed vocal ensemble and has
premiered well over 100 works. She has worked
particularly closely with composers like Michael
Finnissy, Christopher Fox, Bernhard Lang, James
Weeks, Matthew Shlomowitz and Andrew
Hamilton.
www.julietfraser.co.uk
Mark Knoop
Der in London lebende Pianist und Dirigent
Mark Knoop ist berühmt für seine furchtlosen
Auftritte und ganz eigenen Interpretationen.
Er hat zahl­lose neue Werke in Auftrag gegeben
und zur Uraufführung gebracht und mit vielen
angesehenen Komponisten zusammengear­beitet, darunter Michael Finnissy, Joanna Bailie,
Bryn Harrison, Johannes Kreidler, Matthew
Shlomowitz und Steven Kazuo Takasugi.
Seine vielseitige Technik und Virtuosität er­möglichen ihm eine ganz neue Annäherung
an das Standardrepertoire und die Musik des
20. Jahrhunderts.
London based pianist and conductor Mark
Knoop is known for his fearless performances
and individual interpretations. He has commissioned and premiered countless new works and
worked with many respected composers including
Michael Finnissy, Joanna Bailie, Bryn Harrison,
Johannes Kreidler, Matthew Shlomowitz and
Steven Kazuo Takasugi. His versatile technique
and virtuosity also brings fresh approaches to
the standard and 20th-century repertoire.
www.markknoop.com
Franz Schubert
Franz Schubert’s position in the musical landscape of his period is not easy to determine in
retrospect. Too many myths have obscured the
historical reality. His true significance was not
even remotely recognised during his lifetime: this
happened posthumously when Robert Schumann
and Felix Mendelssohn Bartholdy facilitated the
world premiere of his great Symphony in C Major,
D 944. Schubert was born on 31 January 1797
in a small town near Vienna. His musical talent
was evident and fostered from an early age. As
a youth, Schubert already composed an entire
series of Singspiele and dramatic scenes.
A turning point in Schubert’s life took place in
1817, when he was given the opportunity and
grate-fully accepted the offer of a summer residence with a duke. Schubert then no longer
returned to his position as assistant school
teacher and decided to move to Vienna and live
as a musician and composer. After settling
there, Schubert sought ways into public musical
life, quickly finding them by means of various
opera and stage projects. By the end of the
1820s, publishers outside of Vienna had also
begun to show interest in Schubert, above all
in his instrumental works. The composer had
already entered serious negotiations when he
suddenly became severely ill. Schubert died on
19 November 1828.
Siehe auch: Dienstag, 15. März, 19:30 Uhr
Kammermusiksaal der Philharmonie
Franz Schubert
Winterreise
Ian Bostridge Stimme,Tenor
Julius Drake Klavier
15
Franz Schuberts Stellung im Musikleben seiner
Zeit lässt sich im Nachhinein nicht einfach
bestimmen. Zu viele Mythen haben sich vor
die historische Wirklichkeit geschoben. Seine
wahre Bedeutung ist zu seinen Lebzeiten nicht
im Entferntesten erkannt worden. Dies geschah
erst posthum, nachdem Robert Schumann und
Felix Mendelssohn Bartholdy die Uraufführung
der großen C-Dur-Symphonie D 944 ermöglicht
hatten. Schubert wurde am 31. Januar 1797 in
einem kleinen Ort in der Nähe Wiens geboren.
Seine musikalische Begabung trat früh zutage
und wurde gefördert. Bereits in seiner Jugend
komponierte Schubert eine ganze Reihe an
Sing­spielen und dramatischen Szenen. Das Jahr
1817 brachte eine Wende in Schuberts Leben,
nachdem er die Möglichkeit für einen Aufenthalt auf einer gräfischen Sommerresidenz
dankend annahm. Schubert kehrte nicht mehr
an seine schulische Hilfslehrerposition zurück
und entschloss sich, als Musiker und Komponist
in Wien zu leben. Nach seiner Übersiedelung
suchte Schubert den Weg in die musikalische
Öffentlichkeit und fand ihn auch rasch mittels
verschiedener Opern- und Bühnenprojekte.
Ende der 1820er Jahre begannen auch Verlage
außerhalb Wiens, sich für Schuberts Schaffen
zu interessieren, vor allem auch für seine In­strumentalwerke. Der Komponist war in ernst­hafte Verhandlungen eingetreten, als er Anfang
November 1828 plötzlich schwer erkrankte.
Schubert verstarb am 19.November 1828.
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Funded by the Federal Government Commissioner for Culture
Intendant / Director: Dr. Thomas Oberender
Kaufmännische Geschäftsführung / Commercial Director: Charlotte Sieben
MaerzMusik – Festival für Zeitfragen
Künstlerische Leitung / Artistic Director Berno Odo Polzer
Organisationsleitung / Head of Organisation: Ilse Müller
Technische Leitung / Technical director: Matthias Schäfer, Andreas Weidmann
Produktion / Production: Ina Steffan, Magdalena Ritter, Nadin Deventer, Hélène Philippot
Produktionsdramaturgie / Production dramaturgy: Karsten Neßler
Mitarbeit / Assistant: Thalia Hertel, Albert Mena
Spielstättenleitung & Künstlerbetreuung / Venue Management and Artists’s Assistants:
Katalin Trabant, Laila Kühle, Linda Sepp
Presse / Press: Patricia Hofmann
Technik / Technicians:
Bühne / Stage: Matthias Schäfer, Thomas Burkhard, Harald „Dutsch“ Adams, Lotte Genz, Fred Langkau,
Martin Zimmermann , Mirko Neugart, Marcus “Marceese” Trabus, Manuel Solms, Birte Dördelmann,
Pierre Joël Becker, Maria Deiana, Ivan Jovanovic, Ricardo Lashley, Christoph Reinhardt,
Rene Schaeffges, Sven Rheinisch, Karin Hornemann
Licht / Light: Carsten Meyer, Petra Dorn, Kathrin Kausche, Robert Wolf, Boris Bauer, Günhan Bardak,
Mathilda Kruschel, Sachiko Zimmermann, Imke Linde, Lydia Schönfeld
Ton / Sound: Manfred Tiessler, Axel Kriegel, Martin Trümper, Stefan Höhne, Tilo Lips, Jörn Groß,
Klaus Tabert, Torsten Schwarzbach, Felix Podzwadowski, Dennis Roemer
Redaktion / Editorial: Dr. Barbara Barthelmes
Übersetzungen / Translations: Elena Krüskemper, Lucy Renner Jones
Grafik / Graphic: Christine Berkenhoff
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